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Policy, market and transaction analysis
across central and southeast Europe
Music publishers Uses:
#printed sheet music Us...
Why you need a data map?
Why do you need
a data map in
Europe?
•Our product:
CEEMID
Further
information
• Industry mapping...
Why you need a data map?
o In the US you can
always find at least
a handful of public
companies which
can be used are
ofte...
CEEMID database system
FILM
CREATORS
Audiovis
ual
producti
on
Download this
awesome
diagram. Bring
your
presentation to
li...
5
Further information:
#Mapping of the Croatian industry
Music industry is “bracketing” the audiovisual
industries, becaus...
6
Further information:
Detailed mapping of music in HR, HU, SK
Creative and cultural industries are made of a network of m...
7
Further information:
Methodology and history
https://www.academia.edu/18155317/Creating_better_national_cultural_statist...
Market research and demand size
Measuring the consumption of broadcast, licensed, privately
copied and pirated music, feat...
9
International comparison
The Central and Southern European audience is very different from Western and Nordic
audiences....
10
Demand analysis and forecast
A magyarországi lakosoknál kisebb arányban mennek a romániai, portugáliai és
bulgáriai lak...
11
Measuring all consumption
1. Demographics of watching hours per screen (theatre,
TV, YouTube, online stream on computer...
Text
E, F, G, H
regions
In Central and Southeastern Europe, not only purchasing power is
different. Urbanization, populati...
Substitution and revenues
13
1. When there is no way to sell another concert or
cinema ticket, the second best option is t...
14
Revenues and consumer benefits
We are comparing uses of media and distribution channels (hours) and accompanying royalt...
15
Complementing Surveys with Searches
Besides surveys and industry-specific data sources such as collective royalty stati...
Distribution & production capacities
Measuring the consumption of broadcast,
licensed, privately copied and pirated music,...
17
Example: income analysis in the regional
music industry
52%
65%
63%
49%
32%
7%
9%
13%
30%
19%
34%
11%
0% 10% 20% 30% 40...
18
Example: VAT and local taxes on live
performances
Western European countries apply lower VAT rates on live music due to...
19
Example: digital distribution strategy
Digital streams came a bit late to Croatia, but they will soon change the market...
20
Example: global competitiveness in Central-
and Southeastern Europe
In Central Europe, collective right management soci...
Distribution & production capacities
•National country
reports that
estimate total
spending,
investments and
supply facili...
22
This region requires a unique strategy
In Central Europe, collective right management societies play a very important r...
23
CCI policy advocacy: secondary employment
in the music industry
Staging a live event requires technicians for sound, li...
Distribution & production capacities
Consultancy
www.candole.com
Data
www.ceemid.eu
Daniel Antal, CFA
nl.linkedin.com/
in/...
Daniel Antal, CFA is senior consultant. Daniel has worked as an economic regulator, promoted policy and
investor interests...
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Measuring the Central European Audiovisual Industry

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Methodology, demand analysis (audience, targeting, demography, spending), supply capacities (skills, budgets, number of professionals), regionalization. Daniel Antal, CFA

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Measuring the Central European Audiovisual Industry

  1. 1. Policy, market and transaction analysis across central and southeast Europe Music publishers Uses: #printed sheet music Uses: #film rights #advertisement #film rights #film rights #theatre rights #advertisement #advertisement Booking agencies #software #theatre rights #theatre rights #sound recordings #software #software Music sheets #sound recordings #sound recordings Manufacturing Radio & TV Background m Wholesale Promoters of cultural venue operators Independent and integrated concert promoter and publishers Club venues WebshopStreaming Record shops Broadcast and public performance… … Record buying audience Home copying audience Classical music audience Audience of production music, such as advertisement, soundtracks, software games. Music students, (hobby) musicians. Digital audience Consumption, audience, market transactions, non-market transactions (private copying, piracy) Other Creative Industry uses Entertaining music audience: concerts and festivals Sale of audio devices Advertising industry, audiovisual industry, software games, theatres.Festivals Concert halls Independent concert promoters Cultural and music education public performance and broadcasting via CMOs Home copying and PCR Musical instrument manufacturing and retail Audio- and stage technology Rehearsal studios ZAPRAF performers' CMO SOZA authors'right CMO HDS ZAMP HUZIP producers' CMO Concert Promoters Aggregators Production, creation of artistic originals, events. Live entertainment stream Author's stream Sound recording stream Management, non-artistic value added, dissemination and trade, collective rights management. Management, tour management, assisting personell Mechanical reproductionBackground industry and services #size of the repertoire exploited on Slovak stages #total Slovak repertoire #total Slovak repertoire Self-published Bands Ensembles, choirs Record labels #no of concerts, no of concert venues used per year #no. musical works and lyrics per yer #no. of sound recordings made in Slovakia #music festivals, music festival capacities in Slovakia #exploited Slovak repertoire #no of songs exploited in Slovakia (active repertoire) Performing musicians Music composers and authors Performing musicians Musicians who play on live states Authors who create music and lyrics Session musician Measuring the Central European audiovisual industry - measuring the Croatian national markets - Daniel Antal, CFA
  2. 2. Why you need a data map? Why do you need a data map in Europe? •Our product: CEEMID Further information • Industry mapping • Statistical methodology Methodology Market research: cultural access and participation. Market transact- ions, private copying and piracy. Market size, purchasing power. Average spending. Channels. Predictive models. Market Demand Regional approach: Both content import and local output is increasingly regional. We survey the local industry and demand consistently in the region. Regional horizon Industry analysis. Mapping of supplier networks. Value added, employment, output volumes and market values. Capacity & Supply Candole Parnters is an economics and investments consultancy covering SEE. CEEMID is an entertainment and media database system. Daniel Antal, CFA is a creative industry specialist. About us Music publishers Uses: #printed sheet music Uses: #film rights #advertisement #film rights #film rights #theatre rights #advertisement #advertisement Booking agencies #software #theatre rights #theatre rights #sound recordings #software #software Music sheets #sound recordings #sound recordings Manufacturing Radio & TV Background m Wholesale Promoters of cultural venue operators Independent and integrated concert promoter and publishers Club venues WebshopStreaming Record shops Broadcast and public performance… … Record buying audience Home copying audience Classical music audience Audience of production music, such as advertisement, soundtracks, software games. Music students, (hobby) musicians. Digital audience Consumption, audience, market transactions, non-market transactions (private copying, piracy) Other Creative Industry uses Entertaining music audience: concerts and festivals Sale of audio devices Advertising industry, audiovisual industry, software games, theatres.Festivals Concert halls Independent concert promoters Cultural and music education public performance and broadcasting via CMOs Home copying and PCR Musical instrument manufacturing and retail Audio- and stage technology Rehearsal studios ZAPRAF performers' CMO SOZA authors'right CMO HDS ZAMP HUZIP producers' CMO Concert Promoters Aggregators Production, creation of artistic originals, events. Live entertainment stream Author's stream Sound recording stream Management, non-artistic value added, dissemination and trade, collective rights management. Management, tour management, assisting personell Mechanical reproductionBackground industry and services #size of the repertoire exploited on Slovak stages #total Slovak repertoire #total Slovak repertoire Self-published Bands Ensembles, choirs Record labels #no of concerts, no of concert venues used per year #no. musical works and lyrics per yer #no. of sound recordings made in Slovakia #music festivals, music festival capacities in Slovakia #exploited Slovak repertoire #no of songs exploited in Slovakia (active repertoire) Performing musicians Music composers and authors Performing musicians Musicians who play on live states Authors who create music and lyrics Session musician
  3. 3. Why you need a data map? o In the US you can always find at least a handful of public companies which can be used are often used as comparators or provide data to establish basic economic and market factors and prices.  The EU companies are very rarely public, and there is very little data available about them from vendors.  You have to collect your own data or make FOI or PSI data requests.  Markets are less efficient and there is more value in research. There is more value left on the table.  We are experienced consultants to query government data, conducting custom research, and even selling data via ThomsonReuters.  Our CEEMID Central European Entertainment and Media Database aggregates financial, statistical and market research data for the EU28.  We have the map and provide you with data or analytics. o In the US, most information can be derived from the analysis of financial reports, management discussions and other filings. Such data is available an a pre-processed, analysis-friendly format from data vendors such as Bloomberg, Thomson-Reuters or Yahoo! Finance. o Nielsen provides you in-depth market research. Such products are not available for Central European emerging markets.
  4. 4. CEEMID database system FILM CREATORS Audiovis ual producti on Download this awesome diagram. Bring your presentation to life. POST PRODUCION MUSIC PERFORMANCES Concerts, venues, festivals, DJ shows. Songwriting capacity, works available, creators, publishers. • Hundreds of quantitative indicators. • Longitudinal and cross-section data MUSIC INDUSTRY DATABASES Prices, budgets, sales RECORDI NG INDUSTR Y • Audience demographics. •Substitutes. • Local catalogs. • Production capacity. •Export and tax reliefs. BROADCAS TING BOX OFFICE Audience and revenue FILM & AUDIOVISUAL INDUSTRY DATABASES Collective right management, national authorities • 2 granting institutions, 9 CMOs in the region and have ample experience in tariff setting and competition policy issues.
  5. 5. 5 Further information: #Mapping of the Croatian industry Music industry is “bracketing” the audiovisual industries, because sound recordings are related to films, videos and multimedia, and of course radio and television broadcasting. However, live music is part of the “performing arts” classification in NACE, which makes it especially difficult to map from governmental sources. The data about musicians is mixed with actors. The audiovisual industries are well clustered, with one outlier part. Relatively high amount of audiovisual production is used in advertising (so is music). Many audiovisual works are classified under advertisement, and vice versa: cinema advertising is classified as cinema and not advertisement. The governmental economic statistics of the UN and EU member states were designed in the 20th century to represent manufacturing and agricultural production. Creative industries are very difficult to find in these statistical systems. In the US many better classifications exist because of the abundance of public companies and their public data. In the EU where almost all relevant companies are not public, careful data mapping and auxiliary data collection is needed. We are providing these services for all audiovisual and music industries. Fig: ESSnet-Culture Technical Recommendations, p48, emphasis CEEMID
  6. 6. 6 Further information: Detailed mapping of music in HR, HU, SK Creative and cultural industries are made of a network of micro enterprises and freelancers, often working in different roles. The data of the Croatian music industry is to be fined in a many boxes. We follow the US and EU classification of the three income streams, from creative works (music and lyrics, staged for live performances and recorded for sales, broadcast and streaming. Each box represent a different data source! Music publishers Uses: #printed sheet music Uses: #film rights #advertisement #film rights #film rights #theatre rights #advertisement #advertisement Booking agencies #software #theatre rights #theatre rights #sound recordings #software #software Music sheets #sound recordings #sound recordings Manufacturing Radio & TV Background m Wholesale Promoters of cultural venue operators Independent and integrated concert promoter and publishers Club venues WebshopStreaming Record shops Broadcast and public performance… … Record buying audience Home copying audience Classical music audience Audience of production music, such as advertisement, soundtracks, software games. Music students, (hobby) musicians. Digital audience Consumption, audience, market transactions, non-market transactions (private copying, piracy) Other Creative Industry uses Entertaining music audience: concerts and festivals Sale of audio devices Advertising industry, audiovisual industry, software games, theatres.Festivals Concert halls Independent concert promoters Cultural and music education public performance and broadcasting via CMOs Home copying and PCR Musical instrument manufacturing and retail Audio- and stage technology Rehearsal studios ZAPRAF performers' CMO SOZA authors'right CMO HDS ZAMP HUZIP producers' CMO Concert Promoters Aggregators Production, creation of artistic originals, events. Live entertainment stream Author's stream Sound recording stream Management, non-artistic value added, dissemination and trade, collective rights management. Management, tour management, assisting personell Mechanical reproductionBackground industry and services #size of the repertoire exploited on Slovak stages #total Slovak repertoire #total Slovak repertoire Self-published Bands Ensembles, choirs Record labels #no of concerts, no of concert venues used per year #no. musical works and lyrics per yer #no. of sound recordings made in Slovakia #music festivals, music festival capacities in Slovakia #exploited Slovak repertoire #no of songs exploited in Slovakia (active repertoire) Performing musicians Music composers and authors Performing musicians Musicians who play on live states Authors who create music and lyrics Session musician
  7. 7. 7 Further information: Methodology and history https://www.academia.edu/18155317/Creating_better_national_cultural_statistics_with_Eurobarometer_datasets_and_ESSNet- Culture_technical_recommendations
  8. 8. Market research and demand size Measuring the consumption of broadcast, licensed, privately copied and pirated music, feature films, TV series and TV programs for compensation (2012, 2014, 2015.) • Hedonic price and other models for measuring B2B demand in the HORECA sector for music, royalty pricing (2013,2014.) • Market demand for Hungary, Slovakia and Croatia (2015.) • Analyzing the audience for domestic films in the motion picture, broadcast and streaming market in Hungary (2015.) • Various competition-law based relevant market definitions. The illustrations in the presentation are taken from actual Croatian, Hungarian, Slovak presentations and contain labels from in the original language. Examples Market research: cultural access and participation. Market transact- ions, private copying and piracy. Market size, purchasing power. Average spending. Channels. Predictive models. Market demand • Representative, optimum stratified polls. Government statistics. Google Trends. Financial data. Industry data. •Panel and time- series analysis. •Classifications with machine learning, unsupervised and supervised data analytics. Methods Music publishers Uses: #printed sheet music Uses: #film rights #advertisement #film rights #film rights #theatre rights #advertisement #advertisement Booking agencies #software #theatre rights #theatre rights #sound recordings #software #software Music sheets #sound recordings #sound recordings Manufacturing Radio & TV Background m Wholesale Promoters of cultural venue operators Independent and integrated concert promoter and publishers Club venues WebshopStreaming Record shops Broadcast and public performance… … Record buying audience Home copying audience Classical music audience Audience of production music, such as advertisement, soundtracks, software games. Music students, (hobby) musicians. Digital audience Consumption, audience, market transactions, non-market transactions (private copying, piracy) Other Creative Industry uses Entertaining music audience: concerts and festivals Sale of audio devices Advertising industry, audiovisual industry, software games, theatres.Festivals Concert halls Independent concert promoters Cultural and music education public performance and broadcasting via CMOs Home copying and PCR Musical instrument manufacturing and retail Audio- and stage technology Rehearsal studios ZAPRAF performers' CMO SOZA authors'right CMO HDS ZAMP HUZIP producers' CMO Concert Promoters Aggregators Production, creation of artistic originals, events. Live entertainment stream Author's stream Sound recording stream Management, non-artistic value added, dissemination and trade, collective rights management. Management, tour management, assisting personell Mechanical reproductionBackground industry and services #size of the repertoire exploited on Slovak stages #total Slovak repertoire #total Slovak repertoire Self-published Bands Ensembles, choirs Record labels #no of concerts, no of concert venues used per year #no. musical works and lyrics per yer #no. of sound recordings made in Slovakia #music festivals, music festival capacities in Slovakia #exploited Slovak repertoire #no of songs exploited in Slovakia (active repertoire) Performing musicians Music composers and authors Performing musicians Musicians who play on live states Authors who create music and lyrics Session musician
  9. 9. 9 International comparison The Central and Southern European audience is very different from Western and Nordic audiences. Our data collection methodology and post-processing of various public and private surveys allow to make comparisons and zoom on the particular issues of emerging national or smaller regional markets. Data: CEEMID
  10. 10. 10 Demand analysis and forecast A magyarországi lakosoknál kisebb arányban mennek a romániai, portugáliai és bulgáriai lakosok moziba. Visiting likelihood Visiting frequency Ticket sales per capita 1. The likelihood of visits is a macro-level segmentation. We analyze the reason for non-visits to make factual arguments for government policy changes and better theatre locations. 2. The frequency of visits is better measurement and the basis of our segmentation. Most tickets are sold to returning consumers. We analyze regional and national differences in detail to explain and predict visits. 3. Ticket sales per capita are measured in volumes or revenues. Cinema ticket prices differ due to differences in local cost and applicable taxes.  Differences in ticket prices and applicable taxes.  Financial reasons for visiting less cinema.  Substitutes: pay-TV, television, online streaming, rentals, home copying and piracy.  Travel time and costs to cinema.  Reach of marketing tools.  Companion to cinema visits. (Many people never visit without companion)
  11. 11. 11 Measuring all consumption 1. Demographics of watching hours per screen (theatre, TV, YouTube, online stream on computer, tablet, home movies, home copyies, P2P piracy.) 2. Access to multimeida devices. 3. Collection sizes (licensed, home copy, illegal.) 4. Estimated losses in compensated home copy (most EU jurisdictions) and to be litigated.  Watching hours.  Watching frequencies.  Collection sizes.  Spending / reasons for not spending more.  Genres.  Substituting entertainment programs.
  12. 12. Text E, F, G, H regions In Central and Southeastern Europe, not only purchasing power is different. Urbanization, population density, transport availability and access to culture facilities is varied, and unfulfilled market demand is high. Rural areas C & D regions Case study: why not visit more concerts in regions of Slovakia? Cities No more tickets: only if not interested F, G, H regions Only if (further) interest is lacking Only big cities Not enough time  small children? Larger towns: No more tickets: only if not interested Smaller towns: Not enough time  travel time Smaller towns: Not enough time  travel time Rural areas: Lack of opportunity! Analytics: demand constraints Smaller towns: Not enough time  travel time 1. Predictive models to forecast visits in target groups. 2. Classification of cultural access patterns. 3. Surveying entertainment in totality, including substitution between drama and film theatre, concerts, television, home movies. 4. Standardized questions for lack of (further demand)  Comparing visiting and not visiting populations.  Understanding explicit and implicit (time) travel costs.  Understanding travel / parking opportunity.  Differences in purchasing power and demographics. 5. Supply problems: market opportunities, culture policy failure. 6. Demand problems: low purchasing power, unfavorable demography.
  13. 13. Substitution and revenues 13 1. When there is no way to sell another concert or cinema ticket, the second best option is that interest is channeled to a licensed sale. 2. The third best options is substituting active participation with broadcasting. We are modeling royalty revenues and their outlook on broadcast media. 3. In Central Europe, collectively managed royalties have a much higher share in the revenue mix than in Western Europe. Managing private copy compensation is important. 4. Substitution to piracy is partly motivated by lack of adequate supply, especially feature films and TV series.  Understanding competing entertainment activities.  Opportunity: local supply, travel, media equipment.  Purchasing power.  Cultural differences.  Relative values of royalty channels.  Compensation mechanisms for home copying.  Piracy developments. Ages 10-75 licensedcopiedNotaudiovisual Licensed sale TV broadcasting Private copy / compensated Piracy / not compensated Unclear substitute Not audiovisual substitute
  14. 14. 14 Revenues and consumer benefits We are comparing uses of media and distribution channels (hours) and accompanying royalties, licensed, compensated (private copy) and illegal consumption to identify undervalued royalty rates, support compensation claims and policy against illegal content distribution. Music consumption Hungary 2015 Broadcasting: television Broadcasting: radio Physical records Digital streams: YouTube Spo tify Deezer Google Play Digital files on computer Digital files on telephone Tablet Mp3 players
  15. 15. 15 Complementing Surveys with Searches Besides surveys and industry-specific data sources such as collective royalty statistics we analyze Google Trends to understand short-term seasonality and music festival visits (the biggest driver of AT, HR, HU music markets. As a vast portion of the ticket purchases are online, Google Trends are reliable proxy for short-term seasonality.
  16. 16. Distribution & production capacities Measuring the consumption of broadcast, licensed, privately copied and pirated music, feature films, TV series and TV programs for compensation (2012, 2014, 2015.) • Hedonic price and other models for measuring B2B demand in the HORECA sector for music, royalty pricing (2013,2014.) • Market demand for Hungary, Slovakia and Croatia (2015.) • Analyzing the audience for domestic films in the motion picture, broadcast and streaming market in Hungary (2015.) • Various competition-law based relevant market definitions. Examples Market research: cultural access and participation. Market transact- ions, private copying and piracy. Market size, purchasing power. Average spending. Channels. Predictive models. Market supply • Representative, optimum stratified polls. Government statistics. Google Trends. Financial data. Industry data. •Panel and time-series analysis. •Classifications with machine learning, unsupervised and supervised data analytics. The illustrations in the presentation are taken from actual Croatian, Hungarian, Slovak presentations and contain labels from in the original language. Methods Music publishers Uses: #printed sheet music Uses: #film rights #advertisement #film rights #film rights #theatre rights #advertisement #advertisement Booking agencies #software #theatre rights #theatre rights #sound recordings #software #software Music sheets #sound recordings #sound recordings Manufacturing Radio & TV Background m Wholesale Promoters of cultural venue operators Independent and integrated concert promoter and publishers Club venues WebshopStreaming Record shops Broadcast and public performance… … Record buying audience Home copying audience Classical music audience Audience of production music, such as advertisement, soundtracks, software games. Music students, (hobby) musicians. Digital audience Consumption, audience, market transactions, non-market transactions (private copying, piracy) Other Creative Industry uses Entertaining music audience: concerts and festivals Sale of audio devices Advertising industry, audiovisual industry, software games, theatres.Festivals Concert halls Independent concert promoters Cultural and music education public performance and broadcasting via CMOs Home copying and PCR Musical instrument manufacturing and retail Audio- and stage technology Rehearsal studios ZAPRAF performers' CMO SOZA authors'right CMO HDS ZAMP HUZIP producers' CMO Concert Promoters Aggregators Production, creation of artistic originals, events. Live entertainment stream Author's stream Sound recording stream Management, non-artistic value added, dissemination and trade, collective rights management. Management, tour management, assisting personell Mechanical reproductionBackground industry and services #size of the repertoire exploited on Slovak stages #total Slovak repertoire #total Slovak repertoire Self-published Bands Ensembles, choirs Record labels #no of concerts, no of concert venues used per year #no. musical works and lyrics per yer #no. of sound recordings made in Slovakia #music festivals, music festival capacities in Slovakia #exploited Slovak repertoire #no of songs exploited in Slovakia (active repertoire) Performing musicians Music composers and authors Performing musicians Musicians who play on live states Authors who create music and lyrics Session musician
  17. 17. 17 Example: income analysis in the regional music industry 52% 65% 63% 49% 32% 7% 9% 13% 30% 19% 34% 11% 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% UK HU SK HR Individual revenue Music and Record Publishing Collective Rights Management Other The relatively high level of royalties is probably due to the fact that less part-time and young artists participated so far in our survey. However, it is clear that the collective rights management is very important in Croatia. Probably CMOs can take on some roles played by publishers, but the very different type of business development and income that music publishers can bring to the market is missing from all over the region.
  18. 18. 18 Example: VAT and local taxes on live performances Western European countries apply lower VAT rates on live music due to its very high labor component. The tax rates on music events is very high in Croatia, which curbs domestic demand and makes cultural tourism less competitive for the country. Data: Live Nation Central & Eastern Europe. * Austria before VAT level rise. 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Taxes Royalty Artist fee
  19. 19. 19 Example: digital distribution strategy Digital streams came a bit late to Croatia, but they will soon change the market. Each stream has a different distribution and promotion strategy, so income from YouTube, Spotify, Deezer, Bandcamp and SoundCloud requires a differentiated strategy, both at the level of CMOs, record labels and artists. Again, survey data are crucial to understand this extremely important topic. Data: preliminary survey results in Croatia, market estimate calculated for Artisjus (2015), actual digital distribution data of a successful independent catalog in 2014, courtesy of WMMD. Croatia(survey) Physical Digital download YouTube Spotify Deezer Bandcamp Soundcloud Other stream Hungaryestimate Physical Digital download YouTube Spotify Deezer Bandcamp Soundcloud Other stream Local stream Hungarycase study Physical Digital download YouTube Spotify Deezer Bandcamp Soundcloud Other stream Local stream
  20. 20. 20 Example: global competitiveness in Central- and Southeastern Europe In Central Europe, collective right management societies and performer’s unions play an important role, because most of the artists’ revenue comes from fragmented sources. In the UK, music and record publishers play this role. Data: EchoNest, CEEMID. EU ranking population % plays instrument EU ranking population % plays instrument
  21. 21. Distribution & production capacities •National country reports that estimate total spending, investments and supply facilities. • International benchmarking. • Tax incentives. Examples Regional approach: Both content import and local output is increasingly regional. We survey the local industry and demand consistently in the region. Regional Approach • The national markets in Central Europe, apart from Poland are very small. Conent-owners, rightholders of catalogs understand the need to consolidate catalogs and form a regional distribution strategy – both importing to the region and exporting from the region. • Our database was formed in partnership with collective right management organization who recognized the need to regionally develop this market in an increasingly competitive and global market. • The Visegrad Countries, the former Yugoslavia and Austria are a sizeable market, but even more a very competitive production hub. Budapest and Prague are among the big film producing capitals of Europe with Zagreb and Bratislava playing niche roles. Broaden the horizon! Music publishers Uses: #printed sheet music Uses: #film rights #advertisement #film rights #film rights #theatre rights #advertisement #advertisement Booking agencies #software #theatre rights #theatre rights #sound recordings #software #software Music sheets #sound recordings #sound recordings Manufacturing Radio & TV Background m Wholesale Promoters of cultural venue operators Independent and integrated concert promoter and publishers Club venues WebshopStreaming Record shops Broadcast and public performance… … Record buying audience Home copying audience Classical music audience Audience of production music, such as advertisement, soundtracks, software games. Music students, (hobby) musicians. Digital audience Consumption, audience, market transactions, non-market transactions (private copying, piracy) Other Creative Industry uses Entertaining music audience: concerts and festivals Sale of audio devices Advertising industry, audiovisual industry, software games, theatres.Festivals Concert halls Independent concert promoters Cultural and music education public performance and broadcasting via CMOs Home copying and PCR Musical instrument manufacturing and retail Audio- and stage technology Rehearsal studios ZAPRAF performers' CMO SOZA authors'right CMO HDS ZAMP HUZIP producers' CMO Concert Promoters Aggregators Production, creation of artistic originals, events. Live entertainment stream Author's stream Sound recording stream Management, non-artistic value added, dissemination and trade, collective rights management. Management, tour management, assisting personell Mechanical reproductionBackground industry and services #size of the repertoire exploited on Slovak stages #total Slovak repertoire #total Slovak repertoire Self-published Bands Ensembles, choirs Record labels #no of concerts, no of concert venues used per year #no. musical works and lyrics per yer #no. of sound recordings made in Slovakia #music festivals, music festival capacities in Slovakia #exploited Slovak repertoire #no of songs exploited in Slovakia (active repertoire) Performing musicians Music composers and authors Performing musicians Musicians who play on live states Authors who create music and lyrics Session musician
  22. 22. 22 This region requires a unique strategy In Central Europe, collective right management societies play a very important role in maintaining the recorded repertoire. In 2014, about 40% of the industry income came from collective management of radio and television broadcasts, public performance in the HORECA sector and certain digital streams. But digital distribution will bring unseen competitions among Croatian and international acts. It is important to see what are the similarities and the significant dissimilarities with the EMEA region in general. Data: IFPI, compilations for CEEMID. 0 5 10 15 UK Sweden Germany Austria France Netherlands Czech Republic Poland Slovakia Hungary Croatia Physical Digital Performance Synch 0% 20% 40% 60% 80% 100% UK Sweden Germany Austria France Netherlands Czech Republic Poland Slovakia Hungary Croatia Physical Digital Performance Synch
  23. 23. 23 CCI policy advocacy: secondary employment in the music industry Staging a live event requires technicians for sound, light and stage setting or building. A transporter is almost always needed. Ticketing and merchandise sales also require at least one help. Even amateur musicians employ about four people for such roles. Full-time musicians are supported by on average by 8 people on a concert. Venues often employ many people. A well equipped music club has about 20-40 people on duty during a live event. Arena shows employ about 100-200 people and festivals with their temporary installations often far more.
  24. 24. Distribution & production capacities Consultancy www.candole.com Data www.ceemid.eu Daniel Antal, CFA nl.linkedin.com/ in/antaldaniel About us • Visegrad Investments was a Budapest-based economics and investment consultancy. After three years of cooperation, it became associated with Candole Partners, a similar company based in Prague and Bucharest to provide better regional services. • Daniel Antal, CFA, has 15 years of consulting experience in strategy consulting, and data- driven consultancy. He is currently specialized in the entertainment and media inudstries. • CEEMID is a system of databases. Some databases are proprietary to a group of users, such as the CEEMID Authors’ Society database. Other databases are open for subscribers. We create custom databases from Client data that can be complimented with our public databases. • We are covering cultural participation (concert, movie and drama theatre, comedy, broadcast media, talent supply) and culture industry supply in the EU28 with a special emphasis on AT, CZ, HR, HU, SI, SK, PO, RO. Consultancy Data products Music publishers Uses: #printed sheet music Uses: #film rights #advertisement #film rights #film rights #theatre rights #advertisement #advertisement Booking agencies #software #theatre rights #theatre rights #sound recordings #software #software Music sheets #sound recordings #sound recordings Manufacturing Radio & TV Background m Wholesale Promoters of cultural venue operators Independent and integrated concert promoter and publishers Club venues WebshopStreaming Record shops Broadcast and public performance… … Record buying audience Home copying audience Classical music audience Audience of production music, such as advertisement, soundtracks, software games. Music students, (hobby) musicians. Digital audience Consumption, audience, market transactions, non-market transactions (private copying, piracy) Other Creative Industry uses Entertaining music audience: concerts and festivals Sale of audio devices Advertising industry, audiovisual industry, software games, theatres.Festivals Concert halls Independent concert promoters Cultural and music education public performance and broadcasting via CMOs Home copying and PCR Musical instrument manufacturing and retail Audio- and stage technology Rehearsal studios ZAPRAF performers' CMO SOZA authors'right CMO HDS ZAMP HUZIP producers' CMO Concert Promoters Aggregators Production, creation of artistic originals, events. Live entertainment stream Author's stream Sound recording stream Management, non-artistic value added, dissemination and trade, collective rights management. Management, tour management, assisting personell Mechanical reproductionBackground industry and services #size of the repertoire exploited on Slovak stages #total Slovak repertoire #total Slovak repertoire Self-published Bands Ensembles, choirs Record labels #no of concerts, no of concert venues used per year #no. musical works and lyrics per yer #no. of sound recordings made in Slovakia #music festivals, music festival capacities in Slovakia #exploited Slovak repertoire #no of songs exploited in Slovakia (active repertoire) Performing musicians Music composers and authors Performing musicians Musicians who play on live states Authors who create music and lyrics Session musician
  25. 25. Daniel Antal, CFA is senior consultant. Daniel has worked as an economic regulator, promoted policy and investor interests in Hungary and Southeast Europe in the past 15 years. He serves customers in Budapest and the Benelux region. He is specialized in the regulated price setting (royalty tariffs) and business development in regulated environments. Within Candole he is specialized on creative industries, especially live and recorded music, film production and distribution, radio and television, online media and publishing. Daniel holds an MSc Economic Regulation and Competition Policy from the City University London, and has finished the Chartered Financial Analyst program in 2014. He is currently enrolled in the John Hopkins University Data Science distant learning program. daniel.antal@candole.com or nl.linkedin.com/antaldaniel www.candole.com www.ceemid.eu 25

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